S A Y A Designs: Turning Heads for the Right Reasons

I have cut down how much I talk about fashion around here significantly. That’s partly because I want to embody the minimalist and mindful philosophy I so often support and embrace. It’s also because when looking for special things to feature, I only want to share things I want for myself, things that tell a story and that can become part of my own story, things that not only reflect my tastes, but my own values, convictions and the way I live my life.

Where should I begin with S A Y A Designs? This brand epitomises all the right reasons for still loving fashion and beauty, all the right reasons why fashion still matters. Minimalistic and head-turning, subtle and bold, beautiful and meaningful. Stemmed from the love for nature, traditional craft, and pure and organic beauty, S A Y A Designs is the kind of brand that is created with timeless style and lasting memories in mind. A passionate pursuit in purposeful design.
SAYA Designs Mini a Pandans

SAYA designs Mini Pandans

The Mini Pandans by S A Y A Designs

S A Y A Designs makes hair sticks. They are handcrafted by artisans of Bali from root wood salvaged from abandoned plantations in Indonesia. They take a waste material and turn it into something beautiful and purposeful. Each S A Y A hairpin is inspired by the rich flora and fauna in Indonesia, and designed to directly reflect local plant life. It is carved by hand using simple tools and techniques, and finished with natural wax and oils. It is the original hair tool, durable, elegant, and a welcome and thoughtful alternative to plastic and elastic. And for every purchase, up to 10 endangered tree species are planted back into the rainforests in Indonesia, thus contributing to the restoration of our global ecosystem.

These are hair sticks that turn heads for all the right reasons.

I can honestly say that I fell in love with S A Y A the moment I discovered the brand and its story, and my admiration was only reinforced when I got to try their products (I opted for the Mini Pandans, which are specially designed for hair that is medium to short in length, and not too thick) – I admit, they are now my main reason for not going for a new pixie cut, an idea I had started to play with again. And after my conversation with the founder of S A Y A Designs, Victoria, I am more committed than ever to trust my own style and choose wisely. Read on for our interview, where we talked about the inspiration behind S A Y A, about the importance of raising awareness through a new approach to beauty, about starting a new life in Bali and the Indonesian unique business environment, and about the one thing she can not start the day without.
SAYA designs Mini Pandans

SAYA designs Mini Pandans

Turning heads for all the right reasons

In an overly-digitized world, it feels so special, and crucial, to make things with your own two hands. Coupled with an awareness for ethical production and the artistry of local makers, even more so. What are the core tenets on which the idea behind S A Y A Designs is based?

I have always had a deep respect for the hand-made and appreciated the heart behind its craftsmanship. This has become of more importance to me, defiantly in many ways due to the increased dependance we have on technology.

The core contents of S A Y A also highlight the key concepts of the circular economy. Which, in short, is making sure a respectful exchange happens along every step of the way; this requires slowing things down, learning and listening…

For me, S A Y A is a way of creating a platform to stand up for a cause I am passionate about whilst being creative, which is what I love most.

Why hairpins? Why not something else?

I had worn and adored them for years, first inspired by a gift from my partner who bought me one from a trip back from Beijing 6 years ago. It was red with hand painted flowers and it was so beautiful, it gave me little insight into the elegance of traditional Chinese culture. When it came to deciding what to design, I wanted something that was small, functional, and most of all unique! I joined all the dots, and S A Y A was born! I thought about how it would be something that would be a pleasure to use everyday and what a reminder it would be of supporting a cause you believe in.

That’s wonderful. Is there any significance to the name S A Y A ?

Yes! S A Y A means ‘I’ or ‘my’ in the Indonesian language depending on your turn of phrase. So S A Y A Designs means ‘my designs’. I loved the fact that it was fundamentally linked to Indonesia.

One could say that you design first and foremost for yourself, making sure your designs reflect who you are and your own values. I think that’s very important and it just shows in your unique products. Who else do you design for?

Yes, fundamentally I would say so. I also design for women who appreciate a more organic style which I think appeals to a more subtle sense of beauty… They are very tactile objects and shapes!

In this regard, could you tell me a little about the materials you use and why?

Our hairpins are made from reclaimed root wood left behind by loggers in Indonesia. Some have been in the ground for decades and simply abandoned in ex plantation sites. The root wood we use currently are tamarind, teak and rosewood. I felt there was such an interesting story to be told here coming from root to tree… and found the circular business model was able to support the idea and raise awareness towards the global issues we face around deforestation.
SAYA designs mini pandans

SAYA Designs mini pandans  
What are the perks and challenges of an ethically produced beauty brand on the island of Bali?

We are still very much in a young stage of the business and so have many more bridges to cross… I would say some of the perks are that it really is an island of opportunity… So if your work hard and follow things up, you can manifest ideas very quickly… The craftsmanship here is so skilful, and for me that was one of the hugely inspiring factors.

Challenges are that it can also be a place that is hard to sustain things, it takes a long time and large amounts of work go towards building strong structures and frameworks to build things long term. Getting things done sometimes can be hard, especially when you have responsibilities in contrasting hemispheres, extreme weather conditions and cultural parallels. The key I think is being open to adapt where necessary.

You mention the craftsmanship of the people of Indonesia. What is the most important lesson you’ve learned from the community of craftsmen in Bali you work with?

One of the most important creative aspects they taught me was that respecting and understanding your material is fundamental in your design… This was a light bulb for me!

How do you see the future of fashion? Because so many of the people I admire and come in contact with prefer mindful shopping and meaningful brands, such like yours. Are things starting to change?

I definitely feel that things are changing, this is what I look forward to watching most in 2018! Everything we buy is like casting a vote for the direction we want to move in and I think this movement is defiantly making headway…

I think once bigger brands start feeling pressured to ‘go green’, capitalism can turn upside down. If we can all compete to be greener, cleaner, more ethical… that would be what drives the change. I do feel like the pressure is growing from the consumer end, so we just need to keep telling these stories and providing options until everyone cant help but be faced with the reality of what’s happening.
SAYA designs

SAYA Designs 
How much talent, how much hard work and how much luck would you say that is involved in a successful brand?

I would say its an equal amount of all three. Hard work definitely keeps the wheel turning!

Who and what inspires you?

I am inspired by many, many people, but especially artists like Georgia O’Keeffe and Barbara Hepworth, whose organic forms I love. Activists like Dian Fossey, who was an American Conservationist in 1966 who went out to live alone in the jungle to protect mountain gorillas. She was so brave and courageous, especially at a time that when hardly any people, let alone women, were doing what she way doing. She inspires me allot!

What advice would you give someone with their own idea or dream?

Surround yourself by people who encourage and inspire you. Refine your ideas, be brave, find ways to make things happen and forget about the fear of failing.
SAYA Designs

SAYA Designs 

Why Bali? What made you start a new life and a brand there?

I love the environment and community here, I first moved to work for an adult arts school and then realised what kind of life was here… Lots of start-ups, co working spaces and environmental based businesses. Bigger world issues also hit home allot more here as they are more visible… so that triggered allot of ideas and passion.

One favourite thing to do in Bali and which you would miss if you lived anywhere else in the world.

Seeing the colourful Balinese daily life around you and its never ending smell of incense…

What does style mean to you?

Style is about feeling good in what you wear and celebrating your own character.

One thing you can not start the day without: Cup of coffee!

Where would we find you when not working?

Walking in nature or in museums.

You wish people appreciated more: The power we have…

What makes you happy at the end of the day?

Knowing I can enjoy the company of good friends, good books or good cup of tea…
SAYA designs interview

SAYA Designs  

You can find S A Y A Designs here:
Website and Shop: sayadesigns.com | Instagram: @saya_designs
Facebook: @sayadesignscom

photos: 1-6: Classiq / 7-12: S A Y A Designs

Posted by classiq in Beauty & Beautiful Living, Interviews, Style | | Leave a comment

A Sporting Life: The Winter Style Heroes

Every winter I long for a snow storm so that I am stuck inside for at least two days with nothing to do but binge-watch movies (which, having a toddler around, would probably not happen anyway, but one can dream). However, the idea is that we usually get at least one heavy snow a winter, but this year we have barely seen a few snow flakes leaving but a very thin layer on the ground that was gone in two days. Snow-induced binge-watching movies aside, I truly miss seeing the city covered in white and the calmness of a snow day.

But at least we are one day away from the Winter Olympics, which brings its fair share of excitement. With that in mind, I thought we’d take a look at the winter style heroes – the men and women who have a heavy word to say when it comes to snow style, be it on the ski slopes or in the surroundings. It’s also a chance to bring back on the blog a series I am very fond of, A Sporting Life, which takes on the challenge to put together sports and style (not exactly natural bedfellows), and makes a plea for outdoor sports. Today’s installment may not necessarily be about professional sportsmen (as the previous entries), although it does include Jean-Claude Killy, but that doesn’t mean is any less about people who love winter sports, nature and the outdoors, and look cool (while staying warm) in winter no matter what.
A Sporting Life the winter style heroes

A Sporting Life the winter style heroes

A Sporting Life winter style heroes 

Long before Sundance was known for the film festival, it was simply known as Robert Redford’s family’s private ski area northeast of Provo. In the pictures below, taken in 1969, LIFE photographer John Dominis shows the actor/director and his children at home in the Wasatch mountains. Dominis spent a week with Redford at his homes in Utah and New York, chronicling the days and nights of an increasingly famous man, who despite that, wants to remain present for his family. The unobtrusive way of shooting did justice to Redford, who seems at his most unselfconscious and relaxed. The first image is proof enough of that. The records on the table, the copy of the children’s book Charlotte’s Web, the family dog on the couch in a cuddle with Redford’s daughter (don’t you love her tweed trousers and the father and son matching track pants?), and the whole family in turtlenecks are the best example for the coziest winter day at home. It looks like the good life, doesn’t it?

Where is that snow?
Robert Redford 1969

Robert Redford by John Dominis

Robert Redford by John Dominis

Robert Redford and his family at their home in Utah, 1969, photographed by John Dominis

You guys, you know I love the classics. But you must also know that I hate it when they make classic seem synonymous to vintage. Vintage is something stuck in the past (I am not a fan of that, style-wise or otherwise), whereas the classic lives on, is timeless, is as relevant now as it was decades ago. And I believe Grace Kelly heralds the ageless appeal of the classics better than anyone else in the following photos. There is not a single piece of clothing she sports that wouldn’t look cool if worn today. Furthermore, as you can see, there’s no need to forsake warmth for style on the slopes – every single ensemble would look as much in place in the city as it does on the mountains.
A Sporting Life the winter style heroes

The winter style heroes
Now, the Winter Olympics do start tomorrow, so let’s talk a little about one of the all-time greatest and most stylish athletes of winter sports, Jean-Claude Killy. One of the greatest skiers in history, if not the greatest, Killy swept the 1968 Winter Olympics in Grenoble (subsequently dubbed the Killympics) by winning the whole three alpine events, Downhill, Giant Slalom and Slalom. He also dominated Alpine skiing in the mid-to-late ’60s and won 12 out of 16 World Cup races during the 1966-1967 season. When on the slopes, he wasn’t matched by any other competitor, in terms of style, skill and speed, says my father, my number one source when it comes to researching sports and sportsmen.

Killy wasn’t a game-changing hero just for his sport, but also for the flair in the way he dressed. If there is such a thing as classic slopestyle, then he is the man who had it. He looked good in form-fitting, geometrical patterned racing woollens, and he took a style rooted in function one step further and paved the terrain for après-ski and day-to-day wear, opting for rollneck cable-knit sweaters, shearling jackets, mirrored sunglasses and cool-looking knitted beanies. On a side note, he even starred in the 1972 movie “Snow Job” (photo below) as a ski instructor (naturally) and he insisted on doing his own stunts.

The French ski champion also remains one of the most important figures to Rolex, having been an ambassador for the brand for more than 40 years, and having a watch model named after him, the Rolex Dato-Compax Jean-Claude Killy. The watch brand has been associated with the quest for excellence in sport for almost a century. And understandably so. Sports transcend social, cultural, language and ideological barriers, and, quite like nothing else, unite people from all over the world under their common passion. Here is to a sporting life, fair play and the Olympic spirit!

A Sporting Life Jean Claude Kelly

A Sporting Life The winter style heroes

photos: 1,4-Clement Jolin for Mr. Porter / 2-Gwyneth Paltrow by Ditte Isager / 3-Alps & Meters Journal / 4,5,6-John Dominis | Robert Redford, Utah, / 7-Olycom | Grace Kelly with her daughter Caroline, Gstaad, 1960 / 8-Getty Images | Grace Kelly with her children, Caroline and Albert, Switzerland, 1962 / 9-photographer unknown (it could be Toni Frissel) | Grace Kelly, St. Moritz, 1962 / 10-Jean Claude Kelly and Danièle Gaubert in “Snow Job”, 1972 | Jacques Dejean/Sygma / 11-L’Officiel, December 1962 / 12-Jacques Henri Lartigue

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First Music Memory

What was your first music memory? I don’t remember. I wish at least my parents did. I am not talking about the school or teenage years when discovering a song or musician can be truly transformative and can change your perspective and view on life. I am talking about the very early stages of childhood, when children do not even understand the words or the meaning of the words, yet they feel a connection with music through rhythm and tone alone.
Tina Turner 
My two year old son is a music lover. We’ve been playing him music since he was born. But even though he has had certain preferences so far (one particular lullaby, Bruce Springsteen, Josh Stone, Christmas carols, not to mention The Wonderful Thing About Tiggers from “Winnie the Pooh”), lately we’ve been listening to a lot of jazz and blues (I wrote about the music revolution in our home a while ago) and he seems to be into music even more than before. And when he hears Ike and Tina Turner’s Nutbush City Limits he drops everything he’s doing and starts his own performance. He is completely transformed. The way he feels the rhythm and lives the music, the pure abandon to dancing, to singing and screaming in tune, to having fun, to happiness is something that I want to keep forever. Where does this childhood exuberance and innocence go when you grow up? “If we could only find the courage to leave our destiny to chance, to accept the fundamental mystery of our lives, then we might be closer to the sort of happiness that comes with innocence.” Luis Buñuel

photo: Getty Images | Tina Turner during her Foreign Affair tour, 1990

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Diane Keaton: The Real Look Behind Annie Hall

Annie Hall (Diane Keaton) has just met Alvy Singer (Woody Allen) for a double match at a tennis club in Manhattan and now she is getting ready to engage him in their first conversation. They’re back in street clothes, which, for Annie, means a white men’s shirt and loose wrinkled beige trousers, black vest and wide white polka-dot navy tie, and a black men’s fedora with her hair mostly swept under it. She enters the scene laughing and waving: “Hi, hi.”

The funniest, most awkward small talk ensues, mostly thanks to Annie, that leads to her offering Alvy a ride up town and a glass of wine on her balcony. It is not the first scene she appears in, we’ve already seen her in two previous sequences, and this is a flashback to how Annie and Alvy had met. But it is the moment we are truly introduced to Annie Hall. That clumsy attempt to have a casual yet smart conversation and that girl-dressed-as-boy look that on Keaton was so impossibly feminine and cool were what sealed the fascination with Annie Hall and with the Annie Hall style. People had a love affair with Annie Hall in 1977. Everyone watching or re-watching the film today might still do.
Style in Film Diane Keaton in Annie Hall

“I love what you’re wearing,” Alvy tells Annie soon after they meet.

Annie Hall set the stylistic template for what many people would mean by “a Woody Allen film”: the long takes; the shots of people walking on a sidewalk taken from a camera running parallel on the opposite side of the street; the breaking of the fourth wall; the sight, or rather the sound, of two people talking off screen, a technique developed by cinematographer Gordon Willis and which Allen would continue to use in all his films in honour of Willis. Annie Hall was the starting point of Willis and Allen’s collaboration (they would make seven more films together, including Interiors and Manhattan) and the director accounts their teaming-up as the first step toward maturity in some way in making films, towards more realistic and deeper movies.
Style in Film Diane Keaton in Annie Hall

The style of Annie Hall 
But the film belongs to Keaton. “She is all over the film the way Anna Karina is in Vivre sa vie, or Jeanne Moreau is in Jules et Jim – like a fragrance”, says Tom Shone in the book Woody Allen: A Retrospective. I couldn’t agree more, and if I think in regard to the costumes, Shone’s words make even more sense. The approach to costumes very much reminds me of the French New Wave films, which, among all the other cinema conventions they played with, were “the chance of a lifetime to escape the ‘star’ style,” as Jeanne Moreau described her experience on Jules et Jim. All of a sudden they were filming in the street, the actresses had very little makeup on, they wore their own clothes or costumes they found themselves; it was like a slice of life. A slice of life. Just like Diane Keaton’s Annie Hall. “The biggest worry I had making Annie Hall was whether or not I would get in my own way,” Keaton confessed. “I was afraid that unconsciously I might stop myself of showing the truth because it made me uncomfortable. I wanted to do Annie Hall fully, without worrying what I did wrong in real life.”

Therein lies Annie Hall’s charm. That’s Diane Keaton. That’s her personality. Her way of talking, dressing, ordering food. “She’s like all very smart people; extremely modest, extremely self-effacing. She’s got that quality,” Woody Allen would say about Keaton. And he let her play herself and captured her persona, her flavour, that rare quality. When the camera hits Keaton, that’s what you want to see. Here was something new: a modern woman, carving out a new identity, insecure, but brainy and self-conscious, a little neurotic and clumsy but endlessly funny, free and original.
Style in Film Diane Keaton in Annie Hall

Style in Film Diane Keaton in Annie Hall 
Part of Annie’s charm lay in her unusual dress sense. It was very much Diane Keaton’s dress sense. The quirky layering of tailored separates, ties and hats and a man’s jacket over everything was inspired by Keaton’s own personal style. Woody Allen had to fight the costume department over some of the outfits Keaton wanted (and he wanted Keaton) to wear. When Ruth Morley, the costume designer, protested over one of Diane’s outfits on set – the pants, the scarf, the shirt buttoned up to the collar (“Don’t let her wear that. She can’t wear that. It’s so crazy”), Allen intervened. “Leave her. She’s a genius. Let’s just leave her alone, let her wear what she wants. If I really hate something, I’ll tell her. Otherwise she can choose for herself,” he told Stig Björkman in an interview.
Style in Film Diane Keaton in Annie Hall

Style in Film Diane Keaton in Annie Hall

Style in Film Diane Keaton in Annie Hall

The alternative to the evening dress: unbuttoned white shirt and palazzo pants or the tuxedo, naturally

So Diane Keaton wore what she wanted to wear, “or, rather, I stole what I wanted to wear from cool-looking women on the streets of New York,” she wrote in her autobiography, Then Again. That’s where Annie’s khaki pants, vests, and tie came from them. And the hat, the finishing-touch on the Annie Hall look, came from Aurore Clément, who had showed up on the set of The Godfather: Part II one day wearing a man’s slouchy bolero pulled down low over her forehead. Men’s hats have been one of Diane’s trademarks ever since.
Style in Film Diane Keaton in Annie Hall

Style in Film Diane Keaton in Annie Hall

How to layer the grey t-shirt: on top of another t-shirt (top photo above) / underneath a tank top (bottom photo above).
Setting the template for future fashion trends.

There has been much attributed to Ralph Lauren regarding Diane Keaton’s wardrobe in the film, and to this day, the brand still benefits from the connection with Annie Hall. Indeed, the tie and vest and a few other clothing items, like the shirts and the tuxedo she wears when performing in the nightclub, as well as some of Woody’s clothes came from the designer, and, truth be told, I have always had an affinity for his designs and style, because I believe nobody has perfected the equal-parts-tomboy-confidence-and-feminine-sensibility look quite like Ralph Lauren.

But when it comes to the look of Annie Hall, Ralph Lauren himself gave much of the credit to Diane: “I knew Woody and Diane. They wore my clothes, and Diane used to come to my fashion shows with Woody when no one knew her. Annie’s style was Diane’s style – very eclectic. Oversized jacket and vests, floppy men’s hats, and cowboy boots. Around the same time, I did a women’s show with Frye boots and oversized jackets and the big hats. We shared a sensibility, but she had a style that was all her own. Annie Hall was pure Diane Keaton.”

Diane Keaton concurred: “Annie Hall was a combined effort really. Woody gave me carte blanche. Ruth and I went shopping. We borrowed and bought from Ralph Lauren because I loved what he did. But in the end it was the way I normally dressed, and we didn’t want to change that,” giving special credit to her own main source of inspiration, “all the street-chic women livening up SoHo in the mid-seventies. They were the real costume designers of Annie Hall.” The look of Annie Hall is so unique, personal, tender and effortless that there is no doubt it is Diane’s own vision behind it. A slice of life.
Diane Keaton-The look of Annie Hall

Diane Keaton's style Annie Hall

Diane Keaton's style Annie HallClassic American style at its best (photos above): buttoned-up checked shirt with blazer and khakis / white shirt, grey tweed waistcoat and checked wool scarf / plaid shirt over black turtleneck, blue jeans and high boots
And because the Oscars are a little over a month away and there is much room for debate regarding this year’s nominations, like in any other year really, I need to say this. Annie Hall is better than it winning Best Picture (which it did in 1978). It’s the kind of romantic film that still makes Hollywood nervous because the sweetness and sadness it evokes are very much real. It’s nothing fabricated or smirky happy. Hollywood can’t handle that.
Diane Keaton's style in Annie Hall

Diane Keaton's style in Annie Hall

Discover our movie stories shop – inspired by the fascinating world of cinema
and by the never-fading beauty of the tangible

editorial sources: Woody Allen: A Retrospective, by Tom Shone / Woody Allen interview with Stig Björkman in the booklet Woody Allen Collection Volume One, part of the Woody Allen: Six Films – 1971-1978 collection of blu-rays released by Arrow Academy / “Then Again” by Diane Keaton / “Ralph Lauren” by Ralph Lauren

photos: movie stills captured by me from the “Woody Allen: Six Films – 1971-1978” collection of blu-rays released by Arrow Academy | Rollins-Joffe Productions

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Shadowing Cinema: François Duhamel

They dress inconspicuously. They hide behind the crew, around corners, they mingle with the directors and actors, they blend into the background, they become part of the decor. Always looking, always waiting for that shot. That shot that has the ability to capture the essence and the look of an entire movie (I’ve seen it), or the emotions and thoughts of an actor during the making of his/her art. Known as set still photographers or unit still photographers, they take photos on the set of a film as it’s being made. They document everything that is happening on camera and everything that is happening behind the scenes. But those images not only tell the story of a movie, they are a piece of cultural history, too.
Amy Adams in American Hustle by François Duhamel

Amy Adams in “American Hustle” (2013), directed by David O. Russell


A new series that brings together two worlds I love:
cinema and photography. Shadowing Cinema is about
the unit still photographer: the one who documents
everything that happens on and behind the screen.

It is the still photographer who sees the film first.

It doesn’t take a still photographer to make a movie, “but it does take a still photographer to sell a movie, and to show the movie, and to archive the movie, and to have the moments go down in history,” said Merie Weismiller Wallace, co-president of The Society of Motion Picture Still Photographers. The motion picture still photography is used for posters, publicity and magazines for the release of a film.
Single White Female Bridget Fonda by François Duhamel

Bridget Fonda in “Single White Female” (1992), directed by Barbet Schroeder

I have talked about still photography before and about the first behind the scenes photographer, Bob Willoughby, and I even did an exclusive interview with David Fahey, the owner of the Fahey/Klein Gallery in Los Angeles, to find out just what it was that gained Bob Willoughby the trust and backstage access of the first rate directors and actors of the ’50s and ’60s.
Jamie Foxx The Soloist by François Duhamel

Jamie Foxx on the set of “The Soloist” (2009), directed by Joe Wright

River Phoenix Mosquito Coast by François Duhamel

River Phoenix in “Mosquito Coast” (1986), directed by Peter Weir

Saving Mr Banks Emma Thompson by François Duhamel

Emma Thompson and Tom Hanks in “Saving Mr. Banks” (2013), directed by John Lee Hancock

Shadowing Cinema is a new series on Classiq that celebrates cinema, photography and storytelling. Today’s featured still photographer is François Duhamel, who has worked on a great variety of contemporary films like Dead Poets Society, Inglorious Basterds, There Will Be Blood, The Dark Knight, American Hustle, Saving Mr. Banks, 12 Years A Slave, Skyfall, and one of my favourite films of 2017, Detroit.
Gena Rowlands Love Streams by François Duhamel

Gena Rowlands in “Love Streams” (1984), directed by John Cassavetes

Amy Adams American Hustle Francois Duhamel

Amy Adams in “American Hustle” (2013), directed by David O. Russell

Inglorious Basterds François Duhamel

Melanie Laurent in “Inglorious Basterds” (2009), directed by Quentin Tarantino


Discover our movie stories shop – inspired by the fascinating world of cinema
and by the never-fading beauty of the tangible

photos: François Duhamel

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